RONALD MAASZ BSC

At the beginning of his career he was clapper loader on Went the day Well? (1942) directed by Alberto Cavalcanti and photographed by Wilkie Cooper BSC. From 1949 – 1961 he worked as focus puller on a number of high profile features including The Cockleshell Heroes (1955) directed by José Ferrer and photographed by Ted Moore & John Wilcox, The Quiet American (1958) directed by Joseph L. Mankiewicz and photographed by Robert Krasker BSC, Sons and Lovers (1960) directed by Jack Cardiff and photographed by Freddie Francis BSC (Oscar for cinematography), The Entertainer (1960) directed by Tony Richardson and photographed by Ossie Morris OBE BSC. His last focus pulling credit was The Innocents (1961) directed by Jack Clayton and photographed by Freddie Francis BSC – notable for its deep focus, anamorphic photography.

His first credit as operator was for Lunch Hour (1961) directed by James Hill and photographed by Wolfgang Suschitzky BSC.  Amongst his many credits as operator are The Heroes of Telemark (1965) directed by Anthony Mann and photographed by Robert Krasker BSC and The Italian Job (1969) directed by Peter Collinson and photographed by Douglas Slocombe BSC.

He photographed a number of documentary short films and some low budget features. He also shot second unit on Highlander (1986) directed by Russell Mulcahy and photographed by Gerry Fisher BSC and Little Shop of Horrors (1986) directed by Frank Oz and photographed by Bob Paynter BSC as well as television series: Covington Cross 1992) directed by Gil Grant, We Are Seven and 3 episodes of Mistress of Suspense.

Phil Méheux